RE: [Harp-L] Re: Seamless Overblow Challenge

[JersiMuse <jersimuse@xxxxxxxxx>]

" The point is that there is some stuff that can't be convincingly played using those techniques."

This is all relative.
Personally, the point which wouldn't convince me is a player trying to play Jazz (or even Blues), without playing on the after beat.
Whatever technique is used by this player.
A player that would play on the after beat would convince me much more easily. There again, it has nothing to do with the presence or absence of OBs.

Even if I agreed on  the fact that OBs can not be played smoothly enough to be relevant in a Jazz context (which I don't), I would still be much more interested by a Jazz harp player that has a real swing, a real sense of time, a real positioning on the after beat, whether he uses OBs or not, than a player who would play on the downbeat.
I guess this would be the position of most Jazz lovers.
I would also be very quickly bored by a musician that would play only very few harmonic choices in a Jazz tune.

Of course, if we are talking about playing classical music in a symphonic orchestra, this is a totally different matter :-)

Best regards,

Jerome

-----Message d'origine-----
De : harp-l-bounces@xxxxxxxxxx [mailto:harp-l-bounces@xxxxxxxxxx] De la part de Richard Hunter
Envoyà : dimanche 24 juillet 2011 19:24
à : The Iceman; harp-l@xxxxxxxxxx
Objet : Re: [Harp-L] Re: Seamless Overblow Challenge

The icema wrote: 
<The idea is to use some OB's, notes created through bending techniques, etc, in such a way that they sound <musical and pleasantly uniform enough to pull off a performance to be enjoyed by the widest general audience - <not just a small panel of pundits.


The point is that there is some stuff that can't be convincingly played using those techniques.

I don't think you need to be a pundit to know it, either.

I also know that plenty of people disagree, and they're welcome to take it as far as they like.

Thanks, Richard Hunter



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